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“Spoofing the characteristics of the detective, commissioner Van der Weyden is the distillation of the elements that make Bruno Dumont’s work so unique and irresistible. Named after the Flemish painter, who is renowned for his portraits where the position of the hands creates a dialogue with the sober expressiveness of the faces, the commissioner is an indiscernible blend of stupidity and amazement.

Dumont is one of the few asking what the status of images is today, and he acts consequently. Whereas most images today are disincarnated and can move from one medium to another, Dumont’s work has the disagreeable flavor of dirt (or manure, in keeping with his latest work). His images are not analog in the word’s traditional sense, they are not a cast of reality, but they do carry the stigmata of the real.”

“Spoofing the characteristics of the detective, commissioner Van der Weyden is the distillation of the elements that make Bruno Dumont’s work so unique and irresistible. Named after the Flemish painter, who is renowned for his portraits where the position of the hands creates a dialogue with the sober expressiveness of the faces, the commissioner is an indiscernible blend of stupidity and amazement.

Dumont is one of the few asking what the status of images is today, and he acts consequently. Whereas most images today are disincarnated and can move from one medium to another, Dumont’s work has the disagreeable flavor of dirt (or manure, in keeping with his latest work). His images are not analog in the word’s traditional sense, they are not a cast of reality, but they do carry the stigmata of the real.”